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The Long Dark Hall
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| Additional DVD options | Edition | Discs | Price | New from | Used from |
|
DVD
July 9, 2015 "Please retry" | — | 1 | $7.99 | $13.56 |
|
DVD
April 7, 2010 "Please retry" | — | 1 | $8.99 | $8.99 | — |
|
DVD
September 12, 2016 "Please retry" | — | 1 | $26.99 | $26.99 |
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| Genre | Mystery & Suspense |
| Format | NTSC |
| Contributor | Sinister Cinema |
| Language | English |
| Runtime | 1 hour and 27 minutes |
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Product Description
Rex Harrison, Lilli Palmer. A woman stands by her husband when he's accuse of murdering his mistress. Can he be saved from his impending execution?
Product details
- Aspect Ratio : 1.33:1
- Is Discontinued By Manufacturer : No
- MPAA rating : NR (Not Rated)
- Product Dimensions : 7.5 x 5.5 x 0.5 inches; 2.4 Ounces
- Item model number : B001AD54N4
- Director : Sinister Cinema
- Media Format : NTSC
- Run time : 1 hour and 27 minutes
- Release date : April 7, 2010
- Studio : Sinister Cinema
- ASIN : B001AD54N4
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #246,738 in Movies & TV (See Top 100 in Movies & TV)
- #189,578 in DVD
- Customer Reviews:
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Top reviews from the United States
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very dark, and sometimes the direction was badly paced, and awkward. Altogether not
a bad "evening quick watch" but not one of Rex Harrison's best. Very good Lili Palmer
I must say. . . given the material she had to work with, uneven.
Top reviews from other countries
Lustgarten novel (though I sorely missed his narration), and photographed by the renounced Wilkie Collins, a man of many talents, who also wrote celebrated novels in his spare time. (I jest, Wilkie Cooper.)
Nearly didn’t buy it as I thought it was an out-and-out horror film (not really my cup of tea) but it’s really a psychological nightmare film
and noirish which is very much my tasse du the.
There’s a glaring jump-cut at 16:13, very much a no-no before Godard, possibly caused by the non-insertion of a point-of-view or
reverse angle shot. Both puzzling and suprising, as the absolute professionalism of British editors would never usually countanance such a grave error, unless deliberate. They must have either lost or forgotten to shoot the insert.
I’m very suspicious of a joint director credit - unless a long-running team - especially when it includes the producer, The presence of the producer’s name usually raises alarm bells since, as a rule, producers can seldom, if ever, really direct, in the true sense of the term. Directors who become producers to control their career are a bit different. The same warning usually applies to writers who direct to quite understandably retain control. Writers more often become producers and wisely employ a professional to direct. People are very seldom as equally talented in several roles. Naturally, rare exceptions exist. Even Orson, Wells employed a writer, even if he then later tried to take most, if not all, of the credit.
Was that Jill Bennett in the opening seconds, in a non-speaking, but screaming, walk on part, or did my eyes deceive me? Hard to mention without being “a spoiler.”
I felt that Rex Harrison was a bit miscast and disappointed that he didn’t sing once (or, more accurately, speak to music) or even converse with any animals. I felt thoroughly short-changed.
Lilli Palmer is much better, as the faithful wife, and even the old trick of making her wear spectacles can never hope to make her look homely and plain.
She accepts a lift from a stranger and even invites him in for tea, without anyone else present, something a lady of the period and social class would never do.
There is a very good extensive Old Bailey set that thoroughly convince as real locations. Surely it couldn’t have been.
Rather crude and over-insistent (excessive volume in the mix?) music from the usually very good Cyril Frankel.
No sign of a solicitor during the questioning, giving it the air of a Police State. Perhaps it was like that then, before certain needed reforms were implemented? I’m sure an expert like Lustgarten would have got the proceedure right in the book but I wondered if the American adaptor took a few liberties.
A lovely eerie shot of the killer’s face dissolving, superimposed over a glistening, wet night street.
Lovely, very brief asides, like a solo Greek chorus, from Colin Gordon (I think) as a drunken, cynical reporter.
Not quite up to Merton Park standards but in the meantime it’ll do to be going on with.
Didn’t understand Rex’s worry about the affair as he and Lilli enjoyed a non-exclusive, ‘open’, ‘civilized’ marriage, during which both ‘played away’.
I will ignore the plot as it’s usually only one of the least interesting elements of (this type of) film. Suffice to say that it’s a ‘Wrong Man’ scenario only, unlike Hitchcock we are shown the culpret from the outset. There’s a minor, but nevertheless, irritating framing device, involving an American writer, to hopefully interest the cousins.
There’s a complex and sad baddie which leads to a quite wonderful turn of events at the hour mark and raises the film several notches into something well above the ordinary and really quite special.
It’s probably irrelevant but I wondered if Claude Chabrol had seen and been influenced by, either the book or film, as it reminded me in some ways of his utterly sublime, ‘Le Boucher’, and even, in certain aspects, Leo Marks’ and Michael Powell’s ‘Peeping Tom’ There is really no higher praise in my book.
If Hitchcock had directed it, it would have been an unqualified masterpiece, but he didn’t and indeed made his own inferior (for him) documentary Bressonian version with Henry Fonda and Vera Miles.

